Tutu is a common name of Māori origin for plants in the genus Coriaria found in New Zealand. Six New Zealand native species are known by the name: Coriaria angustissima Coriaria arborea Coriaria lurida Coriaria plumosa Coriaria pteridoides Coriaria sarmentosaThey are shrubs or trees. Most of the plant parts are poisonous, containing the neurotoxin tutin and its derivative hyenanchin; the widespread species Coriaria arborea is most linked to cases of poisoning. Honey containing tutin can be produced by bees feeding on honeydew produced by sap-sucking vine hopper insects feeding on tutu; the last recorded deaths from eating honey containing tutin were in the 1890s, although sporadic outbreaks of toxic honey poisoning continue to occur. Poisoning symptoms include delirium and coma. Tutu, 1966 Encyclopedia of New Zealand
The modern tutu is a dress worn as a costume in a ballet performance with attached bodice. It may be made of tarlatan, silk, gauze, or nylon. Modern tutus have two basic types: the Romantic tutu is soft and bell-shaped, reaching the calf or ankle; the derivation of the word tutu is unknown. The word was not recorded anywhere until 1881. One theory is that it is derived from the word tulle. Another theory is that it derives from French babytalk for bottom: during that era, the abonnés were encouraged to mix with the ballet girls in the foyer, arrange assignations, it is suggested the expression came from the abonnés playfully patting the back of the tulle dress with the saying pan-pan cucul. A third, related theory suggests a derivation from the more vulgar French word, "cul". During this era, women wore pantalettes as underwear; the abonnés favoured the front rows in the hope of a scandalous view, the skirt was modified for that reason. This is supported by the description by nineteenth-century balletomane, Charles Nuitter, who defined tutu as "a slang term for the short petticoat worn by danseuses in the interest of modesty."
The skirt that became known as the Romantic tutu made its first appearance in 1832 at the Paris Opera, where Marie Taglioni wore a gauzy white skirt cut to reveal her ankles, designed by Eugene Lami in La Sylphide. From the late 19th century onwards, the tutu was shortened, for ease of movement and to show off the dancer's legs. Fashion designers have been involved in design for ballet. Fashion designers Cecil Beaton in England, Christian Lacroix in France, Isaac Mizrahi in the United States have all designed tutus. Among the leading makers of tutus around the world, few designers have matched the reputation of Barbara Karinska, Ukrainian costumer for the New York City Ballet for many years, She designed and constructed tutus of extraordinary beauty and durability. "The story of a Swan Lake tutu". Ballet News. June 2, 2010. Dancewear Through the Ages An Inside Look at the Costumes of the New York City Ballet Pictures of tutus Ballet costume
Tottles was a character from Lewis Carroll's novel Sylvie and Bruno Concluded, the second volume following on from Sylvie and Bruno. It includes a stanza on What Tottles Meant in Chapter 13. Tottles the Bear, with a name derived from the Lewis Carroll character, is a fictional bear who features in children's stories, he was originated by Humphry Bowen. He has a girlfriend called a best friend called Tuttles. A book by Gina Hughes entitled Tommy Tottlebears Days Before Christmas was published in 2000. Tootles, one of the lost boys in Peter Pan by J. M. Barrie Chapter 13: What Tottles Meant Full text from Archive.org Carroll, Lewis. Sylvie and Bruno Concluded. Macmillan and Co
Princess Tutu is a Japanese magical girl anime series created by Ikuko Itoh in 2002 for animation studio Hal Film Maker. Inspired by ballet and fairy tales The Ugly Duckling and Swan Lake, the story follows a duck, transformed into the mythical ballerina Princess Tutu in order to save the shattered heart of a storybook prince come to life; the first season was broadcast in Japan in 2002 and the second in 2002 and 2003. It was adapted into a two-volume manga. Both the manga and anime series were licensed by ADV Films in 2004 for distribution in North America by AEsir Holdings when ADV Films closed in 2009, but its upcoming Blu-ray Disc release will be distributed by Sentai Filmworks, as the latter two are parts of Section23 Films; the series explores the concepts of destiny and free will. Reviewers point out that although Princess Tutu is nominally a magical girl series, it is more of a "fairy tale set to ballet with a few magical girl elements mixed in," and its use of dance in lieu of violence to solve conflicts carries "surprisingly effective emotional appeal."
Once there was a writer named Drosselmeyer, who had the power to make his stories come to life. But he died before he could finish his final tale, The Prince and the Raven, leaving the two title characters locked in an eternal battle. After many years, the Raven managed to break free into the real world, the Prince pursued him. To seal away the Raven's evil, Prince Siegfried shattered his own heart with his sword, causing him to lose all his memories and emotions. Drosselmeyer, now a ghost, decides, he finds it in the form of a little duck, who has fallen in love with Mytho, the empty remainder of Siegfried. He gives her a magic pendant that can transform her, first into an ordinary human girl into the graceful ballerina Princess Tutu, another character in the story; as Tutu, it's Duck's job to return them to him. But not everyone wants Mytho to get his heart back. Rue, the Raven's daughter reborn as a human, has fallen in love with him too, worries he might not return her feelings if he has a heart.
Her desire to stop him from regaining his emotions unleashes her ability to transform into Princess Kraehe, Tutu's evil counterpart. Fakir, the boy who found and took care of Mytho after he escaped the story tries to stop Tutu, fearing that the story progressing means the Raven will return and Mytho will have to risk his life fighting it again. What's more, Duck learns that part of Princess Tutu's story is that she can never confess her love to Mytho, or else she'll turn into a speck of light and vanish. However, it becomes clear that Mytho wants his heart restored, so despite Fakir and Kraehe's interference, she persists. Fakir accepts Mytho's choice and decides to help Tutu discovering her true identity as a Duck and becoming good friends with her, he learns he's a descendant of Drosselmeyer, meaning he too has the power to make what he writes a reality. Rue finds out she's not a human child he stole to serve him. After most of Mytho's heart is returned to him, the seal trapping the Raven begins to break.
Able to feel love again, Mytho realizes he loves Rue – just as the Raven kidnaps her. Duck discovers her pendant is the final shard, meaning she must give up her life as a human to return it, she finds the courage to do so, becomes a humble duck again. Mytho and the Raven battle once more; when the fight turns bleak, Mytho considers shattering his heart to seal the monster away again. Duck begins dancing to show him he must not give up; as she does, Fakir writes a story about how she never stops, no matter how many times the Raven's minions attack her. Together they create hope, which gives Mytho the strength he needs to rescue Rue and defeat the Raven. Mytho asks Rue to be his princess and they return to his kingdom inside the story. Duck and Fakir continue their relationship though she's stuck in her duck form. With nothing left to do, Drosselmeyer departs in search of another story. Princess Tutu was aired in two seasons; the first season, "Kapitel des Eies", consisted of 13 half-hour episodes.
The second season, "Kapitel des Junges" in R2 DVDs, "Kapital des Kükens" in R1 DVDs, was aired as 25 quarter-hour episodes and one half-hour episode. These were brought back together in the DVD release as 13 complete episodes. In 2004 ADV Films announced that they had licensed the anime series for distribution in North America. ADV Films produced English adaptations for all episodes and, beginning in 2005, the series was periodically released as single DVD "volumes" that each contained several episodes. In 2007 the series was released as a complete DVD collection of all 26 episodes. In 2011 AEsir Holdings announced the licensing of the series and the release of a complete DVD collection of all 26 episodes distributed by Section23 Films. In 2018, as AEsir Holdings and Sentai Filmworks are parts of Section23 Films, the latter will release a complete Blu-ray collection of all 26 episodes on December 11, 2018. Princess Tutu Marchen, episodes 1–5, release date: 2005-01-25 Traum, episodes 6–9, release date: 2005-11-29 Erwachen, episodes 10–13, release date: 2006-01-24 Prinz und Rabe ), episodes 14–18, release date: 2006-03-21 Schwert und Feder, episodes 19–22, release date: 2006-05-23 Abschied, episodes 23–26, release date: 2006-07-25 DVD Collection, episodes 1–26, release date: 2007-11-20 Complete Collection, episodes 1–26, release date: 2009-04-21 Complete Collection
Tutu (Egyptian god)
Tutu was an Egyptian god worshipped by ordinary people all over Egypt during the Late Period. The only known temple dedicated to Tutu is located in ancient Kellis. However, reliefs depicting Tutu are seen in other temples, such as the Temple of Kalabsha. Tutu's title at the Shenhur temple was "Who comes to the one calling him". Other titles of his are "Son of Neith," "the Lion," "Great of Strength", "Master of the demons of Sekhmet and the wandering demons of Bastet". Tutu's iconography is anthropomorphic, consisting of the body of a striding, winged lion, the head of a human, other heads of hawks and crocodiles projecting from the body, the tail of a serpent, he was the son of Neith, considered as a "dangerous goddess". Other goddesses in the same aspect were named as Mut, Sekhmet and Bastet; this meant. It was his role to slay demons sent out by "dangerous goddesses"; these were Maahes and Nefertem. The protector of tombs, Tutu guarded the sleeping from danger or bad dreams. Tutu was regarded for ordinary people to worship and rituals were made on portable altars.
Offerings included goose, bread, rituals were for protection from demons and bad dreams. Tutu was stated to have given protection from demons, giving longer life and protecting people from the Netherworld. Kaper, Olaf E.: The Egyptian god Tutu: a study of the sphinx-god and master of demons with a corpus of monuments. Peeters Publishers Sauneron, JNES 19 p 285 Hart, George; the Routledge Dictionary of Egyptian Gods and Goddesses, Second Edition. Routledge
Tutu is an album by American jazz trumpeter Miles Davis, released in 1986 by Warner Bros. Records, it was recorded at Capitol Studios in Los Angeles and Clinton Recording in New York, except the song "Backyard Ritual", recorded at Le Gonks in West Hollywood. Davis received the 1987 Best Jazz Instrumental Performance, Soloist Grammy Award for his performance on the album. Planned as a collaboration with pop singer/songwriter Prince, Davis worked with bassist/multi-instrumentalist Marcus Miller. Miller wrote and arranged all the songs, except "Tomaas", "Backyard Ritual", "Perfect Way"; the music is inspired by mid-1980s R&B and funk, with heavy use of synthesizers and drum machines. As indicated in the notes accompanying the album, Tutu was produced by Tommy LiPuma and Marcus Miller, with the exception of "Backyard Ritual", co-produced by Duke and LiPuma; the cover was photographed by Irving Penn.. Eiko Ishioka received the 1987 Grammy Award for Best Album Package for her work as the art director.
The original vinyl album featured a colored inner sleeve printed with the album credits on one side and a photograph of Davis's left hand on the reverse. Tutu divided critics and listeners when it was released in 1986. Like Davis's pivotal 1970 album Bitches Brew, Paul Tingen wrote, Tutu became one of the "defining jazz albums" of its decade and attracted a young, new audience while alienating many other jazz listeners because of its heavy reliance on the drum machine and synthesizers. A number of critics felt the music was ingratiatingly elegant, designed for casual listening, a work by Miller. In The New York Times that year, Robert Palmer said it "already sounds curiously dated" and unambitious, featuring synthesizers that "have glutinous textures so overly familiar from the mainstream of late-1970s pop jazz" and electronic rhythms lacking the innovation of contemporary hip hop records. Others believed the album gave a musical setting for Davis's improvisations to thrive in, comparable to his orchestral recordings with Gil Evans from the late 1950s and early 1960s.
The Village Voice critic Robert Christgau deemed it a marginal success but Davis's "best in a decade". He contended that while Davis's 1970s fusion recordings for Columbia Records were purely improvised jazz-rock, Tutu sounded "more like pop-funk Sketches of Spain, with the starperson's trumpet glancing smartly off an up-to-date panoply of catchy little tunes and rhythm effects". Jazz musician and writer Mike Zwerin was more enthusiastic, hailing it as "the best jazz record of the decade". In a retrospective piece, Christgau wrote that with "shlock" like Tutu and Amandla, Davis was taking advantage of the fusion movement he helped develop while showing "gratifying groove and class". In J. D. Considine's opinion, the album's compositions and improvisations endured well with the passage of time though its electronically processed and enigmatic music turned off jazz purists. Writing for Something Else! in 2006, S. Victor Aaron said the best songs from Tutu may have been Davis's own composition "Tomaas": "With a reggae beat married to repetitive single note underpinned by some nifty bass work by Miller and Miller trade fours and eights in a rare opportunity for Miles to stretch out.
Overall, the trumpet playing is subdued more constrained by production than declining abilities. Does the mute come off his horn." Reviewing the album for Jazzwise in 2011, Davis' biographer George Cole said, "Tutu was a product of the 80s, a decade where music was in danger of becoming subservient to technology. But while much of the music from this era is now long forgotten. In an interview for JazzTimes, Miller said, "I'm finding that although the music mirrored the times in which it was created, there is so much in the music that still seems relevant today. Although we've replaced some of the super electro sounding elements, the melodies are still cool, it feels. People seem to be feeling this music twenty years later." All tracks composed by Marcus Miller except where indicated: "Tutu" – 5:15 "Tomaas" – 5:38 "Portia" – 6:18 "Splatch" – 4:46 "Backyard Ritual" – 4:49 "Perfect Way" – 4:35 "Don't Lose Your Mind" – 5:49 "Full Nelson" – 5:06 Disc two"Opening Medley":'Theme from Jack Johnson','Speak','That's What Happened' – 15:14 "New Blues" – 5:20 "The Maze" – 10:15 "Human Nature" – 9:04 "Portia" – 7:54 "Splatch" – 17:10 "Time After Time" – 7:22 "Carnival" – 4:20 Miles Davis - trumpet Marcus Miller - bass guitars, synthesizers, drum machine programming, bass clarinet, soprano saxophone, other instruments Jason Miles - synthesizer programming Paulinho da Costa - percussion on "Tutu", "Portia", "Splatch" and Backyard Ritual" Adam Holzman - synthesizer solo on "Splatch" Steve Reid - additional percussion on "Splatch" George Duke - all except percussion, bass guitar, trumpet on "Backyard Ritual" Omar Hakim - drums and percussion on "Tomaas" Bernard Wright - additional synthesizers on "Tomaas" and "Don't Lose Your Mind" Michał Urbaniak - electric violin on "Don't Lose Your Mind" Jabali Billy Hart - drums, bongos Producers - Tommy